Words And Women

We support women writers living and working in the East of England * Shortlisted for the Women In Publishing New Venture Award 2015 & 2016, for Saboteur Best One-Off Event 2015 and Best Anthology 2014 * The Words & Women Compendium is available to buy here - see the dedicated blog page! * A Words & Women reading with Lois Williams will take place in Ipswich 3rd May 2018 for the Suffolk Book League

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Tuesday, 13 March 2018

Hard as it
is to imagine but back in 2011, in the dark days, there was nothing much going
on to mark International Women’s Day in Norwich which was why Words and Women
was set up. We are not for one moment saying it
is down to us, but now there is so much on offer, even South Bank has zoomed in
with WOW – the Women of the World
Festival - which will take place in the city in April 2018.It has become a busy field with increased awareness.

Of course
Words and Women is so much more than a local event. We’ve run projects further
afield in other parts of the Eastern region and we have our prose competition
which is open to women writers regionally but also nationally (for women over
the age of 40). Our anthologies have even been sold in Shakespeare & Co in
Paris!

But,
ironically, given this is the year when we celebrate the centenary of the
partial suffrage of women, granting women a voice in society, we have decided
we need to put Words and Women on hold.

Words and
Women has achieved much over seven years:

·We have published
6 books or to put it another way 147 women writers

·We have
distributed £30,000 of prize monies and commissions

·We have raised
money for the charities Leeway, Women for Refugee Women and ECPAT (against
child-trafficking)

·We have put on 7
International Women’s Day events, a garden festival and numerous other reading
events around the East of England. These events often involved cross-discipline
work with female theatre directors, comedians, film makers, musicians and
artists, including Karen Reilly from The Neutrinos, Chalk Circle Theatre
Company, Print to The People, Clare Jarrett, Anna Mudeka, Louisa Theobald

·We have presented
a paper at Lit Com: Writing and Communities, we’ve made a short film and have
spoken about our work on T.V. and radio

·We have developed
work for the stage and the page with our Arts Council supported project About,
and we have worked with young girls in schools, and with over 30 women writers from
disadvantaged areas in Norfolk for our Libraries supported project Rural Writes

·Writers we have
worked with have gone on to publish their first novels and collections of
stories. We are proud of them but particularly proud of two women from our
Rural Writes project who were new to writing then and are now studying writing
at postgraduate level

We have also
been:

·Shortlisted for Best Anthology 2014, Saboteur Awards

·Shortlisted for Best One-Off Event 2015, Saboteur Awards

·Shortlisted for the Women in Publishing New
Venture Award 2015 & 2016

However,
Words and Women is run voluntarily. Basically, the organisation is a two-woman
gig and neither of us get paid for our time. So this last year, we engaged in
an operation to see how we could make Words and Women more sustainable for us. But,
as of yet, we’ve not found a way to secure funding.It is frustrating that core funding for
activities like ours is so difficult, if not impossible to achieve.

So we need
time away to do more thinking and planning and to recoup. Hopefully we will
find a way to continue. It hurts to go dark though. It still feels as if Words
and Women has a role to play in supporting and celebrating women writers and
other women creatives, in creating opportunities on a community and professional
level, in trying to offer public space, and in mixing it up.

It hurts to
stop too because, well, a woman’s work is never done. Only last week The
Guardian published a letter from 70 women screenwriters deploring the lack of
opportunity for women writers in television drama.We are living through an extraordinary time
where sexism and inequality is being exposed in every area of life, and yet, if
we really stop to think, the Suffragettes of 100 years ago would probably be
horrified at the lack of progress.

It also hurts
because there is so much still to do to further women’s writing in our
particular way, with warmth, an inclusive ethos, a desire to be exciting and to
expect the best, to reinvent, to be passionate, to give young women
opportunities and to be non-elitist, and to be kind.

Thank you
for being with us over the years. We will be celebrating the centenary of
partial suffrage of women with some small but not insignificant projects
(please see the dedicated blog page for further details), and we will be
holding our last reading for the time being on the 3rd May in
Ipswich for the Suffolk Book League, so if you are in the area then please come
along to that.

Tuesday, 27 February 2018

Words
and Women is excited to announce the launch of their latest publication – a
compendium of this year’s competition winners and the best of five years of
publishing women’s short prose.The
book, beautifully produced by Singular Publishing, features Kerry Hood’s
intriguing and ambitious short story,The
Sunbathers,which won this
year’s national prize for women writers over 40, and Margaret Meyer’sThe Once and Only First Lady Judgeawarded the East of England regional
prize. But the book includes so much more, past winners and the most dynamic,
bold and exciting fiction, life-writing, creative non-fiction and memoir
regionally.

The
launch at The Book Hive, 53 London Street, in Norwich takes place on Friday, 9thMarch at 6 for 6.30 pm and will
feature readings from Margaret Meyer, Lilie Ferrari, Lora Stimson and Deborah
Arnander.

Everybody welcome - there will be copies of The Compendium for sale, and refreshments too!

Sunday, 28 January 2018

This piece by Bel Greenwood, co-organiser of Words And Women, first appeared on the Writers Centre Norwich website. It was written in response to a recent BBC Radio 4 programme that saw novelist Kit de Waal reflect on her own life and writing career, and the barriers faced by working-class writers today.

'I can
remember really looking forward to reading Maggie Ferguson’s biography of
Michael Morpurgo. I wasn’t even going to wait for the paperback version to come
out. I had read his stories to my own child and watched him passionately defend
the human rights of Palestinian children. I admired him, but I felt a familiar
disappointment when yet, again, Michael Morpurgo was revealed to be a former head
boy of a Canterbury public school who lead the late Queen Mother around the
grounds, ex-Sandhurst, and related by marriage to Allen Lane, head of Penguin
Books.I can remember thinking, how
typical. Of course, Michael Morpurgo has talent, lots of people have that, but
not everyone has such a route map. Frankly, if you are a working class writer you
really don’t have much of a map at all.

I am very
conscious of the need to avoid being ‘chippy.’ As if holding any resentment
about inequality is a character flaw and my perception of the publishing
industry as elitist, and poorly representative of where I come from isn’t valid.
But it is now being acknowledged by the publishing industry itself that working
class writers and stories are missing and some in the industry want to remove
the barriers to writers from my kind of background. Hence BBC Radio 4’s
documentary, ‘Where are all the Working Class Writers?’ A passionate, personal
take by Kit de Waal, who published her first book at the age of 55.

Is it so
different for someone like me and someone like Michael Morpurgo?Plenty of middle class people refuse to
accept that there is any difference. But of course, there is. It isn’t only financial
hardship, lack of time or a writing shed that gets in the way. It’s confidence,
self-belief, having a face that fits, a happy sense of entitlement, adopting a
way of speaking that is taken more seriously. Learning the alien skill of a
networking session, finding a sense of belonging without any idea of the codes
that tie people together.

I was born
into a large family at the back of the old Arsenal Football Stadium in London. When
I was five my father ran away. I don’t think he managed a single maintenance
payment and my mother was left pregnant with her fifth child, on benefits in
the late 1960s. It was tough, and we were very poor. I can remember us all
sitting round making pyjama trouser strings in the front room and was often
kept off school to help with the washing. My mother remarried a milkman with itchy feet and
we moved 14 times in 12 years. I went to 8 schools, in secondhand shoes and on free
school meals, we were easy fodder for bullies. Years later, a wealthy friend,
son of lawyers, asked me why life was always a battle. No one where I grew up
would think to ask that question.

Having been
at comprehensives and a secondary modern, I ended up at a grammar school where
the headmistress asked me if my father drank, after all he is working class, he
is also teetotal except at Christmas. I was one of two working class pupils in
the sixth form and became a Communist and played truant in response.

In those
years, I can remember visiting the home of an artist whose work resembled
Modigliani. I pointed this out, and she responded, ‘Oh, you know who Modigliani
is?’ She couldn’t believe that someone like me would know about an
Italian-Jewish 19th century artist who lived in France. I couldn’t
help thinking, why shouldn’t I know as much as anyone else. Thank Goodness for
public libraries, my gateway into a bigger world where art could belong to
anyone.

Why am I
writing this? Because the perceptions and expectations of others feed the
perception and expectations of ourselves. My mother’s ambition was for me to
work in Woolworths. It took me years to get to university, the first generation
in my family to do so. Even then I did it as a single parent in a city of
strangers, excited but unsure how to belong, and frankly, without Arts and
Humanities Research Board funding of my MA, it simply wouldn’t have happened. I am grateful for that support and aware of what
a rare chance I have been given. But it’s still hard not to feel like an
imposter. In my early adult life, I spent years listening to intellectual bores
who I was convinced must be more right than me because of their class.
Thankfully, I have outgrown that – but the shuttle diplomacy between my working
class origins, and the middle class world of publishing continues in an
atmosphere of self-doubt and hope.Now
more than ever we need to tell the right stories and I believe we need a range
of voices to do the telling, anything less will only ever give us a dangerously
partial view.'

Monday, 8 January 2018

Congratulations
to Kerry Hood who has won our national prize for women writers over 40 in our
prose competition this year and Margaret Meyer who has won our regional prize
for women writers living and working in the East of England. Kerry won for her fantastic story The Sunbathers, and Margaret won for The Once And Only First Lady Judge, a
story written in honour of her grandmother.

Kerry’s story TXL was runner-up in the Bridport Prize
for which she’s been shortlisted five times. She won the Cinnamon Press Award,
Ink Tears Flash Fiction, and Frome Short Story Prize as well as being published
by the Bristol Prize, The New Writer and Bath Flash Fiction. Two stories have
been broadcast on BBC Radio 4.

She
has had ten plays produced including Meeting
Myself Coming Back at Soho Theatre (British Theatre Guide Highlight of the
Year, Sunday Times Critics’ Choice, shortlisted for Meyer-Whitworth Award),
received several Arts Council awards and has had residencies at the National
Theatre, the Traverse and RADA.

Margaret is a prose writer and
therapist. She has previously been a fiction editor, publisher, British Council
Director of Literature and a reader-in-residence in Norfolk prisons. As a
therapeutic arts practitioner she provides writing and reading-for-wellbeing
programmes for ex-offenders, recovering addicts, and people recovering from
mental health conditions. In 2016 she won a place on the Escalator writer
development scheme run by Writers’ Centre Norwich. In 2017 she was awarded an
Arts Council England grant towards her first novel, The Varieties of Flight. She writes about women, water, metaphor,
criminality and not knowing.

Kerry
wins £1,000 and a month long writing retreat, generously sponsored by Hosking Houses Trust, and Margaret wins £600 and
a mentoring session with Jill Dawson of Gold Dust.Both will have their work published in our forthcoming
anthology The Words And Women Compendium which
will be launched at our International Women’s Day celebration in Norwich in
March. (We will release more details about our celebration at the end of this
month.)

Our guest judges for this year were Emily Midorikawa and Emma Claire
Sweeney, authors ofA Secret Sisterhood: The
hidden friendships of Austen, Brontë, Eliot andWoolf. All entries were judged anonymously and the unveiling of the names of
the winning writers at the end of the process was very exciting! Here are the
judges’ thoughts about the winning stories:

'The Sunbathers stands
out immediately as ambitious and distinctive, expanding the possibilities
of the short-story form. It takes a virtuoso approach to narrative
perspective, expertly sustaining complex craft techniques, and
its layers of symbolism make this a story that
rewards revisiting time and again.’

'The Once and Only First Lady Judge is richly imagined, with an important message
at its core. The characters engaged us on a deep, emotional
level, and the story lingered in our minds long after we had stopped reading.'

Words
And Women would like to say thank you to everybody who entered the competition.
The quality of work, as always, was outstanding.

Meanwhile we thought we’d continue our tradition of
announcing our Top 40 here first. Congratulations to all of you who made it to
this stage!

And very many thanks to all of you who entered. We had over
350 entries from all over the UK and Ireland, from Dublin, Edinburgh, Glasgow, Leicester,
Bristol, Canterbury, Norwich, Cambridge and many other cities, towns and
villages. There was a good strong mix of fiction and non, many interesting
essays and strong memoir pieces. Themes explored were as varied, ranging from work
in praise of the natural world (from Barn Owls to soil!), from writers and
writing to film-makers and performers, from trafficked women to abandoned
children, from drownings and rescues to grief. There were gently humourous
pieces about relationships and more acerbic, surreal pieces too. The work which
made its way into our Top 40 successfully explores the unusual or the familiar
in an unfamiliar way. We were drawn to interesting content, developed argument
and narrative.We liked language that
conjured an atmosphere. We liked neat structures and experimental structures.
Mostly we chose work which displays confidence and energy, commitment and a
real understanding of form.

Our Top 40:

Each
of Us Drowning at Sea- Fiction - Yvonne
Battle-Felton

Si’s Chair – Fiction -
Debbie Bayne

Where
were you? – Non-fiction - Bibi Berki

End of Term – Fiction - Pippa Brush Chappell

And
We Grew So Old – Fiction - Selma Carvalho

From
the Soil – Non-fiction - Lucy Cash

Glasshouse
– Fiction - Philipa
Coughlan

Havoc Shore – Fiction – Maureen Cullen

Getting Shit On – Non-fiction - Niamh Curran

The Story Of The Good Little Girl Who Did Not Prosper – Fiction - M. J. Doyle

The Gift – Fiction - Jennie Ensor

Every
Living Thing – Non-fiction - Sally Kerry Fox

Molly Lovelace – Fiction - Ledlowe Guthrie

The
Sunbathers –
Fiction – Kerry Hood

Absinthe – Fiction -
Janet Howcroft

The Other Side – Fiction -
Hedy Howe

Paul Newman Eyes – Fiction –
Kate Jefford

That Something of
Me - Non-fiction
- Ingrid Jendrzejewski

Crane – Fiction - Avril Joy

Sebald and standing in the kitchen at a party – Non-fiction
- Alice Kent